DISCLAIMER: This post has been a bit of a rush (as I forgot to prepare a post this week) so I apologise if the standard is a little shitty.
Music Videos are definitely more of a Pop staple than a Rock one but ever since MTV's birth in the early 80's and the rise of the Hair Metal genre, Rock and Metal bands have been releasing music videos to promote their material for the last three decades. Some are straightforward performance based ones, some are more narrative with a clear story to them and others are purely conceptual with random ideas thrown together to make a fun abstract video to watch.
However, just like anything that requires talent or imagination to make, there are plenty of opportunities to go wrong. In this post, I'll be listing some of the Dos and Don'ts of how to make a decent Rock/Metal music video. As is always the case with Dos & Don'ts posts on this blog, my writing is almost entirely opinion based with a few facts thrown in. If you have any feedback or suggestions regarding the Dos and Don'ts of Music Videos, let me know in the comment section.
DO choreograph it properly
This is the kind of thing 11-year olds whose Youtube accounts consist of hundreds of videos of them playing video games with Linkin Park in the background completely fail to do so bands have no fucking excuse. Regardless of what's happening in your video, make damn sure that it fits in with the music. Cut to a different camera before or after a significant part of the song, slide your explosive special effects in during an explosive part of the song, have some fun with it for Christ's sake.
DO keep most of the song intact
I can understand the need for editing tracks to make them more suitable for promotion but if you have to hack apart a song so much that you're removing more than 90 seconds of it, you've picked a bad song to release as a single. I also can't understand the logic in trimming a track by a few seconds, as it seems like an unnecessary change to make. A song should be something that band has written with meaning, not just as a tool to make shitloads of cash. If a band are comfortable with heavily cutting up something they've created like a slab of donner meat in a kebab shop, chances are they don't give a shit about their own music and are likely only in it for the money/fame, hence the music video.
DO make it impressive
The best music videos are easily the ones that are memorable, that leave you wanting to watch it again regardless of your opinion towards the song. In fact, if a music video is THAT impressive, it might make you enjoy the song purely through positive association. If you're making a performance video, don't just have the band standing about playing like it's an ordinary rehearsal. If you're making a narrative video, tell a great story that's made even better with the song as a soundtrack. If you're making a conceptual video, make it stand out; don't just be weird for the sake of weird, be weird with style.
DON'T interrupt your song
Modern Pop-Rock/Alternative bands have a habit of doing this and it's bloody annoying. You'll be listening to the song, enjoying yourself and the video that you're watching, and the band decide to pause whatever's happening just for a shitty joke or self-indulgent moment. It ruins any kind of pacing in both the music and video, something that younger bands seem more inclined to do as opposed to older Rock/Metal acts that give a bigger shit about the quality of their music.
DON'T let your ego get out of control
Basically any video that has one or more of the band surrounded by women. It's bad enough when the band think "Hey, let's make a video showing a crowd of fans going mental over us", it's even worse when they imply the crowd are so into the show that they're ready to be fucked by whoever puts their instrument down first. This also includes music videos that show the band living out some kind of non-sexual fantasy like being superheroes or something, since being Rock Stars apparently isn't enough for these guys. I want to be entertained, not watch some arseholes entertaining themselves. It's the equivalent of vocalists who get the audience to sing most of the song at gigs.
DON'T underestimate a simple idea
You can throw a huge sum of money at a project without any drive or passion and it'll end up as a soulless piece of shit. Money doesn't automatically make something good, it merely makes a good thing better provided enough care goes into it. There are music videos that cost barely anything to make and are more iconic than any big-budget piece, partly down to the simplicity of it...that and it being amusing or impressive, as I said before. The point is a big expensive video can be cool but so can a cheap yet creative one. Don't overlook this just because you want to swing your dick about with a multi-million dollar advert.
Apologies again for the lateness of this post. If you have any ideas or requests for me, feel free to either use the comment section or Twitter!
Sunday, 29 November 2015
Saturday, 21 November 2015
Showdown: Cover Versions
It's taken me a long time to write this post, even though it's incredibly basic in principle. Last time I wrote a Showdown post, I was weighing up the tracks on Whitesnake's Purple Album against the Deep Purple originals. I had planned on writing more Showdown posts between now and then but never really knew what to write about. However, after hearing a decent Rock cover version of a new Pop song last night, I had an idea.
In this first post of (hopefully) quite a few, I'll be looking at select cover versions and comparing them to the originals in the Showdown format. Instead of just throwing in a bunch of random covers that I prefer/hate, I've decided to limit my choices either to iconic tracks that have lesser known but equally strong covers OR popular songs that are actually covers of originals most people might not even know about.
Since I wrote about non-Rock songs last week, I'll be limiting this post just to Rock/Metal songs and covers. If I get around to writing another of these in the future, I'll include Pop and other non-Rock genres then. Also, if it isn't obvious, I'll be discussing the original, then the cover, then my verdict on which is better. Time to get this fight started!
ROUND ONE: You Really Got Me
The Kinks - One of this band's signature songs and a damn good one at that. It's considered to be one of the earliest "Hard Rock" tracks in existence but regardless of whether you think it's Hard Rock, Garage Rock or just plain old Rock, it's a hell of a song. Heavy guitar riff (for the 60's), catchy chorus AND verse, fitting solo, all in the space of just over 2 minutes.
Van Halen - A solid cover with great vocals from David Lee Roth that helped propel the band to success when promoting their debut album. By and large, it's a pretty faithful cover except for a couple of differences after the second chorus. Eddie Van Halen beefs up the guitar solo to include more tapping and after he's finished, the final verse is a bit of a comedown with softer drums and no guitar melody. Considering it's only a short song, you shouldn't really need to slow things down in the middle.
VERDICT - An easy decision for me but honestly, both songs are good. However, the comedown in the Van Halen cover sort of spoils it for me. I like a song that can keep things consistent from start to finish without needing a breather in the middle so I'm awarding this win to The Kinks.
ROUND TWO: Blinded By The Light
Bruce Springsteen - I've made my thoughts on Bruce Springsteen perfectly clear on the blog before but this song isn't completely terrible. His voice doesn't sound as bloated as it usually does but I'm still not in love with the track. It sounds like too much of a cruise ship performance for me to really enjoy it, although I do prefer Bruce's original lyrics in the chorus.
Manfred Mann's Earth Band - It might be about as faithful as a pissed up Italian whose wife is away for the weekend but this is the version everyone knows, and with fairly good reason. "Wrapped up like a douche" confusion aside, it's a catchy little number that's easily more memorable than the original, thanks to the soft chorus after building up through the verses. This band took a mediocre cover and made it special, which is always the sign of a good cover, regardless of your opinion of how good either song actually is.
VERDICT - Bruce was always going to lose this one in my books but at least here, I can back up my prejudice against this rubbish vocalist. The lyrics might be better in the original but practically the entire song is better to listen to during the cover, so Manfred Mann's Earth Band win this one hands down.
ROUND THREE: Hurt
Nine Inch Nails - Up until the last episode of Rick And Morty season 2, I wasn't really feeling this song. It's a slow burner but definitely rewarding if you sit and properly listen to it, although the minute of static noise at the end kind of stops this song from being one you want to listen to all the way through repeatedly. Still, the vocals are dripping in the amount of self-loathing that a song like this deserves. A powerful tune by a band I normally wouldn't care for.
Johnny Cash - Can we count Country music in this post, since it's technically not Rock? Ah whatever, it's close enough. There's been confusion in the past about whether this was the original or not but the pain behind the song is still there, albeit having moved from anger to depression. It might be less powerful than the original when it comes to the instruments that are used but it's equally as powerful when it comes to how the song actually sounds.
VERDICT - Tough one, this. They're both excellent in their own right and I would recommend both songs. However, since the Johnny Cash cover doesn't have the wasted minute at the end, I'm awarding the win to Johnny Cash this round. Maybe some of you will prefer the NIN original because of that minute where you get to just sit and reflect but for me personally, I'd rather spend that time listening to something new. Also, whilst I'm on the subject of great Johnny Cash covers, do give his rendition of "Cat's In The Cradle" - Harry Chapin a listen!
ROUND FOUR: Paranoid
Black Sabbath - An iconic Metal (or Rock, depending on your genre qualifications) song that is easily recognisable and arguably overplayed in comparison to other Black Sabbath tracks. I've always found the solo a bit dodgy on this recording, not because of the notes that are played but rather the actual sound of Iommi's guitar playing. It's also quite a flat song once you're used to other Rock tracks of the same decade so whilst I loved it when I first heard it, it's definitely one that's lost magic over time.
Megadeth - There are a couple of covers of this song but I've chosen Megadeth because it's one of the first covers I heard of this track. The tempo's a little faster, the guitar's a little heavier and the vocals are a lot better. I can't say I regard Ozzy's vocals highly but Dave Mustaine's just seem to fit better with this song. The only flaw in this track is the ending, which gets a little silly and ruins what I would've otherwise called a perfect cover.
VERDICT - Purists will no doubt find a million ways in which the Black Sabbath version trumps any and every cover but I would much rather listen to the cover in almost any given situation over the original. I still like the original but if I had to choose a winner, it'd be Megadeth.
ROUND FIVE: Knockin' On Heaven's Door
Bob Dylan - A song that's been covered an inordinate amount of times by a variety of artists but ultimately, this recording is the source. Bob Dylan's soft, soulful song about a sheriff hanging up his guns has a poignant quality to it that I've yet to hear in any other cover. It really does sound like the swan song of a man who's reached the end of the line and is ready to accept his fate. Not only is it a fantastic track where Bob Dylan actually sings instead of whines but it's one that really shouldn't have been covered to a lesser degree by any band, especially not these fuckknuckles...
Guns N' Roses - Gone is the sombre tranquillity from the original, gone are the simple guitar melodies or battle-fatigued vocals and gone is any shred of quality that Bob Dylan's recording had. Rather than perform a song with the emotion it deserves, Axl decided to shout and mewl all the way through it whilst Slash enjoys an unnecessarily long jerk-off sesh as the band make this song all about fucking them. Listening to this again to prepare for this post has made me hate Axl even more than I did before, as I bet it was him who wanted to cover/ruin this track in the first place.
VERDICT - Do I even need to say it? Some of you might think I chose this track just to have a dig at GNR but I reckon I could choose any cover of this song, whether it's Eric Clapton's shitty Reggae version or Avril Lavigne's stripped-back B-side, and still give the win to Bob Dylan. However, that being said, I will rarely miss the opportunity to stab and twist the knife into Axl Rose's vocal work.
ROUND SIX: Baby, Please Don't Go
Big Joe Williams - A Blues song from the 1930's, Big Joe Williams' original is stripped back and lacking in any kind of power but that's to be expected, really. It's still a decent Blues song but combine the poor recording quality with the basic structure and it's unlikely to strike a chord with you, unless you're a Blues fanatic. Again, this track has been covered a hell of a lot and most covers will probably be better than the original so in a complete contrast to the last example, I've decided to pick a cover that didn't make me want to punch the vocalist.
Aerosmith - The added bass, drums and additional guitar melodies really make this track. The driving rhythm and fast pace give it an edge that Big Joe never could've pulled off with a nine-stringed guitar and his foot. Perhaps the aggression in the vocals doesn't fit to perfection with the lyrics but this is definitely a song for a more contemporary Rock audience. Blues fanatic or not, you have to love that bass though.
VERDICT - I'm not a massive fan of old Blues songs as they do little to captivate me but even if I did like the original, I'd have to be crazy to not award this to Aerosmith for a top quality cover.
ROUND SEVEN: Can't Find My Way Home
Blind Faith - Maybe this isn't a notable Rock song but it's been covered more times than a piss-stain on a white carpet and I still love it as much as I did when I first heard it. Everything about it is simple yet so, so effective. However, it's the vocals that really shine here, although the high pitch might put some listeners off. Luckily, I'm not one of those listeners and this song will always hold a special place for me. For this comparison, I've picked a cover that does something...a little different with the cover.
Black Label Society - Whilst I like a few of this band's heavier songs off the same album, this cover feels inappropriate. It starts off well with strings and piano but when Zakk Wylde sounds like he does, I'm not sure why they chose to cover a song that requires delicate vocals. Not only that but towards the end, Zakk decides to turn it into slosh by mindlessly shredding all over the fucking place. If Zakk was feeling a little insecure about his skills and wanted everyone to know that he's a shit-hot guitarist, he should've picked a different song to whack it out to.
VERDICT - A poor choice of cover for BLS, although it could've worked if Zakk Wylde stuck to the piano like a good boy. There are a few bands who have covered this song that may have stood a better chance than the one I chose (such as Styx and Stuffy Shmitt) but Blind Faith definitely trump Black Label Society on this one.
ROUND EIGHT: Born To Be Wild
Steppenwolf - A solid driving anthem and another contender for the earliest "Hard Rock" track in existence but it's also had its fair share of covers over the years. Crunching guitar riffs and a short but strong chorus are usually what make these songs stand out, and that's certainly the case with this easy rider too. It's just a shame the track fades out during what sounds like a good solo too.
The Cult - Why the fuck did they slow the tempo down? Maybe they wanted it to sound more like one of their songs but if that were the case, surely they would've played at their standard 140 bpm instead of fucking about with the song. Also, is it me or does Ian Astbury sound like he's taking the piss with his vocals on this one? I love him as a vocalist and the Electric album is definitely in my good books but this cover really brings both him and the album down.
VERDICT - If someone were to write a book about how to record a good cover version, Rule #1 should be "Don't cover Born To Be Wild or Gimme Some Lovin" as I've never heard a solid cover of either of those two tracks, and The Cult's recording should act as a black flag for any other bands who think they can get away with a shitpoor/experimental cover of an iconic song. Steppenwolf all the way here.
ROUND NINE: Hanging On The Telephone
The Nerves - I feel like this should be common knowledge by now but the version of this song you probably know is actually a cover of a track by The Nerves. As far as the music, structure and vocals goes, it's all pretty sound. There's nothing really wrong with the song but it's all just a bit flat, if you ask me. There's nothing about it that stands out if you've heard the cover as it's pretty much just the same verse/chorus over and over until the end. Good effort but I can see why the Blondie cover is the preferred track.
Blondie - A perfect example of how someone has taken a song and made it their own. Blondie's cover adds a few extra instruments and a brief middle-eight that spices things up a tad. Overall, it's a short and punchy tune that's faithful to the original in all the places that count and different enough to make it better to listen to.
VERDICT - Opinion is a deciding factor for most of these songs but when a track is improved by a tidy solo or perhaps more fitting instruments, it's not exactly a difficult decision to make. Blondie may not be a fantastic band outside of their well known Rock singles but they easily win this round.
ROUND TEN: Summertime Blues
Eddie Cochran - Time to end on another Blues Rock track and what better than another short number that's had a string of covers. The bizarre thing about this song is that I've never heard a cover which keeps the same tempo as the original which, in my opinion, make this song enjoyable. The bouncing rhythm, low vocals and clean guitar riff without any complications make this a great gem from the 50's, which is something you won't hear me say that often.
Rush - Yep, Rush are one of the bands who have covered this one. I was tempted to use the more well known covers by either The Who and Blue Cheer but to be honest, they all make the same mistake in going overboard with the heavy riffing and slowing down the tempo so it's irrelevant as to which one I compare with the original. I suppose I should add "Summertime Blues" to the list of songs that no band should ever cover, if this is the standard.
VERDICT - Please let me know if a band has recorded a truly faithful cover of this track, as I'd be willing to give it a shot. Until that date, it's fair to say Eddie Cochran will always be superior.
If you have any covers that you recommend over the originals that I've listed in this post, let me know. I'll probably return to cover versions in a Showdown post sometime in the future although I'll happily welcome recommendations of tracks to listen to for that as well.
In this first post of (hopefully) quite a few, I'll be looking at select cover versions and comparing them to the originals in the Showdown format. Instead of just throwing in a bunch of random covers that I prefer/hate, I've decided to limit my choices either to iconic tracks that have lesser known but equally strong covers OR popular songs that are actually covers of originals most people might not even know about.
Since I wrote about non-Rock songs last week, I'll be limiting this post just to Rock/Metal songs and covers. If I get around to writing another of these in the future, I'll include Pop and other non-Rock genres then. Also, if it isn't obvious, I'll be discussing the original, then the cover, then my verdict on which is better. Time to get this fight started!
ROUND ONE: You Really Got Me
The Kinks - One of this band's signature songs and a damn good one at that. It's considered to be one of the earliest "Hard Rock" tracks in existence but regardless of whether you think it's Hard Rock, Garage Rock or just plain old Rock, it's a hell of a song. Heavy guitar riff (for the 60's), catchy chorus AND verse, fitting solo, all in the space of just over 2 minutes.
Van Halen - A solid cover with great vocals from David Lee Roth that helped propel the band to success when promoting their debut album. By and large, it's a pretty faithful cover except for a couple of differences after the second chorus. Eddie Van Halen beefs up the guitar solo to include more tapping and after he's finished, the final verse is a bit of a comedown with softer drums and no guitar melody. Considering it's only a short song, you shouldn't really need to slow things down in the middle.
VERDICT - An easy decision for me but honestly, both songs are good. However, the comedown in the Van Halen cover sort of spoils it for me. I like a song that can keep things consistent from start to finish without needing a breather in the middle so I'm awarding this win to The Kinks.
ROUND TWO: Blinded By The Light
Bruce Springsteen - I've made my thoughts on Bruce Springsteen perfectly clear on the blog before but this song isn't completely terrible. His voice doesn't sound as bloated as it usually does but I'm still not in love with the track. It sounds like too much of a cruise ship performance for me to really enjoy it, although I do prefer Bruce's original lyrics in the chorus.
Manfred Mann's Earth Band - It might be about as faithful as a pissed up Italian whose wife is away for the weekend but this is the version everyone knows, and with fairly good reason. "Wrapped up like a douche" confusion aside, it's a catchy little number that's easily more memorable than the original, thanks to the soft chorus after building up through the verses. This band took a mediocre cover and made it special, which is always the sign of a good cover, regardless of your opinion of how good either song actually is.
VERDICT - Bruce was always going to lose this one in my books but at least here, I can back up my prejudice against this rubbish vocalist. The lyrics might be better in the original but practically the entire song is better to listen to during the cover, so Manfred Mann's Earth Band win this one hands down.
ROUND THREE: Hurt
Nine Inch Nails - Up until the last episode of Rick And Morty season 2, I wasn't really feeling this song. It's a slow burner but definitely rewarding if you sit and properly listen to it, although the minute of static noise at the end kind of stops this song from being one you want to listen to all the way through repeatedly. Still, the vocals are dripping in the amount of self-loathing that a song like this deserves. A powerful tune by a band I normally wouldn't care for.
Johnny Cash - Can we count Country music in this post, since it's technically not Rock? Ah whatever, it's close enough. There's been confusion in the past about whether this was the original or not but the pain behind the song is still there, albeit having moved from anger to depression. It might be less powerful than the original when it comes to the instruments that are used but it's equally as powerful when it comes to how the song actually sounds.
VERDICT - Tough one, this. They're both excellent in their own right and I would recommend both songs. However, since the Johnny Cash cover doesn't have the wasted minute at the end, I'm awarding the win to Johnny Cash this round. Maybe some of you will prefer the NIN original because of that minute where you get to just sit and reflect but for me personally, I'd rather spend that time listening to something new. Also, whilst I'm on the subject of great Johnny Cash covers, do give his rendition of "Cat's In The Cradle" - Harry Chapin a listen!
ROUND FOUR: Paranoid
Black Sabbath - An iconic Metal (or Rock, depending on your genre qualifications) song that is easily recognisable and arguably overplayed in comparison to other Black Sabbath tracks. I've always found the solo a bit dodgy on this recording, not because of the notes that are played but rather the actual sound of Iommi's guitar playing. It's also quite a flat song once you're used to other Rock tracks of the same decade so whilst I loved it when I first heard it, it's definitely one that's lost magic over time.
Megadeth - There are a couple of covers of this song but I've chosen Megadeth because it's one of the first covers I heard of this track. The tempo's a little faster, the guitar's a little heavier and the vocals are a lot better. I can't say I regard Ozzy's vocals highly but Dave Mustaine's just seem to fit better with this song. The only flaw in this track is the ending, which gets a little silly and ruins what I would've otherwise called a perfect cover.
VERDICT - Purists will no doubt find a million ways in which the Black Sabbath version trumps any and every cover but I would much rather listen to the cover in almost any given situation over the original. I still like the original but if I had to choose a winner, it'd be Megadeth.
ROUND FIVE: Knockin' On Heaven's Door
Bob Dylan - A song that's been covered an inordinate amount of times by a variety of artists but ultimately, this recording is the source. Bob Dylan's soft, soulful song about a sheriff hanging up his guns has a poignant quality to it that I've yet to hear in any other cover. It really does sound like the swan song of a man who's reached the end of the line and is ready to accept his fate. Not only is it a fantastic track where Bob Dylan actually sings instead of whines but it's one that really shouldn't have been covered to a lesser degree by any band, especially not these fuckknuckles...
Guns N' Roses - Gone is the sombre tranquillity from the original, gone are the simple guitar melodies or battle-fatigued vocals and gone is any shred of quality that Bob Dylan's recording had. Rather than perform a song with the emotion it deserves, Axl decided to shout and mewl all the way through it whilst Slash enjoys an unnecessarily long jerk-off sesh as the band make this song all about fucking them. Listening to this again to prepare for this post has made me hate Axl even more than I did before, as I bet it was him who wanted to cover/ruin this track in the first place.
VERDICT - Do I even need to say it? Some of you might think I chose this track just to have a dig at GNR but I reckon I could choose any cover of this song, whether it's Eric Clapton's shitty Reggae version or Avril Lavigne's stripped-back B-side, and still give the win to Bob Dylan. However, that being said, I will rarely miss the opportunity to stab and twist the knife into Axl Rose's vocal work.
ROUND SIX: Baby, Please Don't Go
Big Joe Williams - A Blues song from the 1930's, Big Joe Williams' original is stripped back and lacking in any kind of power but that's to be expected, really. It's still a decent Blues song but combine the poor recording quality with the basic structure and it's unlikely to strike a chord with you, unless you're a Blues fanatic. Again, this track has been covered a hell of a lot and most covers will probably be better than the original so in a complete contrast to the last example, I've decided to pick a cover that didn't make me want to punch the vocalist.
Aerosmith - The added bass, drums and additional guitar melodies really make this track. The driving rhythm and fast pace give it an edge that Big Joe never could've pulled off with a nine-stringed guitar and his foot. Perhaps the aggression in the vocals doesn't fit to perfection with the lyrics but this is definitely a song for a more contemporary Rock audience. Blues fanatic or not, you have to love that bass though.
VERDICT - I'm not a massive fan of old Blues songs as they do little to captivate me but even if I did like the original, I'd have to be crazy to not award this to Aerosmith for a top quality cover.
ROUND SEVEN: Can't Find My Way Home
Blind Faith - Maybe this isn't a notable Rock song but it's been covered more times than a piss-stain on a white carpet and I still love it as much as I did when I first heard it. Everything about it is simple yet so, so effective. However, it's the vocals that really shine here, although the high pitch might put some listeners off. Luckily, I'm not one of those listeners and this song will always hold a special place for me. For this comparison, I've picked a cover that does something...a little different with the cover.
Black Label Society - Whilst I like a few of this band's heavier songs off the same album, this cover feels inappropriate. It starts off well with strings and piano but when Zakk Wylde sounds like he does, I'm not sure why they chose to cover a song that requires delicate vocals. Not only that but towards the end, Zakk decides to turn it into slosh by mindlessly shredding all over the fucking place. If Zakk was feeling a little insecure about his skills and wanted everyone to know that he's a shit-hot guitarist, he should've picked a different song to whack it out to.
VERDICT - A poor choice of cover for BLS, although it could've worked if Zakk Wylde stuck to the piano like a good boy. There are a few bands who have covered this song that may have stood a better chance than the one I chose (such as Styx and Stuffy Shmitt) but Blind Faith definitely trump Black Label Society on this one.
ROUND EIGHT: Born To Be Wild
Steppenwolf - A solid driving anthem and another contender for the earliest "Hard Rock" track in existence but it's also had its fair share of covers over the years. Crunching guitar riffs and a short but strong chorus are usually what make these songs stand out, and that's certainly the case with this easy rider too. It's just a shame the track fades out during what sounds like a good solo too.
The Cult - Why the fuck did they slow the tempo down? Maybe they wanted it to sound more like one of their songs but if that were the case, surely they would've played at their standard 140 bpm instead of fucking about with the song. Also, is it me or does Ian Astbury sound like he's taking the piss with his vocals on this one? I love him as a vocalist and the Electric album is definitely in my good books but this cover really brings both him and the album down.
VERDICT - If someone were to write a book about how to record a good cover version, Rule #1 should be "Don't cover Born To Be Wild or Gimme Some Lovin" as I've never heard a solid cover of either of those two tracks, and The Cult's recording should act as a black flag for any other bands who think they can get away with a shitpoor/experimental cover of an iconic song. Steppenwolf all the way here.
ROUND NINE: Hanging On The Telephone
The Nerves - I feel like this should be common knowledge by now but the version of this song you probably know is actually a cover of a track by The Nerves. As far as the music, structure and vocals goes, it's all pretty sound. There's nothing really wrong with the song but it's all just a bit flat, if you ask me. There's nothing about it that stands out if you've heard the cover as it's pretty much just the same verse/chorus over and over until the end. Good effort but I can see why the Blondie cover is the preferred track.
Blondie - A perfect example of how someone has taken a song and made it their own. Blondie's cover adds a few extra instruments and a brief middle-eight that spices things up a tad. Overall, it's a short and punchy tune that's faithful to the original in all the places that count and different enough to make it better to listen to.
VERDICT - Opinion is a deciding factor for most of these songs but when a track is improved by a tidy solo or perhaps more fitting instruments, it's not exactly a difficult decision to make. Blondie may not be a fantastic band outside of their well known Rock singles but they easily win this round.
ROUND TEN: Summertime Blues
Eddie Cochran - Time to end on another Blues Rock track and what better than another short number that's had a string of covers. The bizarre thing about this song is that I've never heard a cover which keeps the same tempo as the original which, in my opinion, make this song enjoyable. The bouncing rhythm, low vocals and clean guitar riff without any complications make this a great gem from the 50's, which is something you won't hear me say that often.
Rush - Yep, Rush are one of the bands who have covered this one. I was tempted to use the more well known covers by either The Who and Blue Cheer but to be honest, they all make the same mistake in going overboard with the heavy riffing and slowing down the tempo so it's irrelevant as to which one I compare with the original. I suppose I should add "Summertime Blues" to the list of songs that no band should ever cover, if this is the standard.
VERDICT - Please let me know if a band has recorded a truly faithful cover of this track, as I'd be willing to give it a shot. Until that date, it's fair to say Eddie Cochran will always be superior.
If you have any covers that you recommend over the originals that I've listed in this post, let me know. I'll probably return to cover versions in a Showdown post sometime in the future although I'll happily welcome recommendations of tracks to listen to for that as well.
Friday, 13 November 2015
Tenology: Non-Rock Songs
Here's another post that was requested via Twitter and one I've actually quite enjoyed thinking about. I've made it well known on this blog that I'm a big Rock and Metal enthusiast but there are songs belonging to other genres that I like too, although I'm definitely not as knowledgeable about Pop, Soul, Hip Hop or others.
That being said, I've been asked to write up a post detailing some non-Rock/Metal songs that I enjoy listening to so here are ten of my favourites in no particular order. Also, I'm not counting songs that have strong Rock elements so that rules out quite a few songs I enjoy such as "Super Freak" - Rick James and bands like The Beatles, assuming you call them Pop instead of Rock.
1. "Crazy" - Seal
I was torn between this one and "Na Na Hey Hey Kiss Him Goodbye" - Steam. In the end, I chose this track because I felt it had less of a Rock vibe than the other, although I probably like them both the same. I don't really know many Seal songs outside of this one and "Kiss From A Rose" but I think, gun to head, I prefer this one. It may go on a bit too long but it's still got a good mix and a strong vocal-based chorus, just as good Pop songs should have.
2. "The Safety Dance" - Men Without Hats
Fair warning, this isn't the only "cheesy" 80's Pop One-Hit Wonder on this list and you're lucky I was able to condense it down to just a couple. If I had to post 20 tracks, you could've expected to see "Walk The Dinosaur" - Was (Not Was) and "Opposites Attract" - Paula Abdul, to name a few. Anyway, I fucking love this song. Sorry but I do. It's incredibly catchy, the lyrics aren't as inane as other Pop anthems and it's short enough to not get annoying.
3. "You Can't Hurry Love" - The Supremes
Cards on the table, the game Donkey Konga is probably responsible for my love of this song. It's about as inoffensive as you can get and it has a good little rhythm to it. I could probably forgive any song that you can do the Carlton Dance to without too much effort unless it's absolutely fucking terrible and fortunately, this song isn't absolutely fucking terrible. It's the aural equivalent of a hot water bottle on a cold evening, that's roughly how nice it is.
4. "Weapon Of Choice" - Fatboy Slim
To borrow the parlance of knobheads, back in the day I was really into Fatboy Slim. There were several tracks to choose from for this list such as "That Old Pair Of Jeans" and "Praise You" but I ended up going with "Weapon Of Choice" simply because I could happily sit and listen to it on repeat for hours. Even though it's the same tune over and over again (which is pretty much Pop music summarised), it's catchy enough to sound awesome.
5. "On Our Own" - Bobby Brown
Bit of 80's Hip-Hop/Pop for you! It's not exactly an amazing song and it's definitely pretty forgettable but every time I heard it, I can't help but hum along to the backing vocal melody. That's about all there is to say on this song other than it's not the only track I've picked that can be heard in Ghostbusters II...
6. "(Your Love Keeps Lifting Me) Higher And Higher - Jackie Wilson
Even if I first heard this song in a godawful film, my perception of the song wasn't forever tarnished by Eddie Murphy in fat drag. As soon as that bass comes in, the song is just fantastic right the way through to the end. The mix of each instrument is layered perfectly and the whole song just oozes happiness, which isn't something I usually look for in a song. However, it's abundantly present here and I'm glad for it, as should you be.
7. "Part-Time Lover" - Stevie Wonder
Another song that works perfectly with the Carlton Dance! There are several decent Stevie Wonder tracks but this is easily my favourite. I remember hearing it years and years ago but not knowing who it was by or what it was called. For years, I thought it was just an awesome cover of "Maneater" - Hall & Oates but after being used in an episode of Never Mind The Buzzcocks, I bought it straight away! It's hard to pinpoint exactly why I love this track but I reckon the general melody is probably the main reason.
8. "Cobrastyle" - Teddybears
You'll probably know this song if you listen to it, at least you might if you watch American TV shows. I wasn't sure if I should include this, as it samples the piano riff from "Good Thing" - Fine Young Cannibals (a song I was also tempted to include on this list if it had less Rock elements) but I think it belongs here, especially when you compare it to the average music I review on this blog. At the risk of sounding like a teenage moron, it's got a great beat and chorus, even if I have no idea what the guy's rapping about.
9. "Rock Me Amadeus" - Falco
Most of you will probably choose "99 Luftballoons" - Nena as the best German Synth-Pop track of the 80's. Whilst I do love that track as well, it's got to be "Rock Me Amadeus" that earns the spot on this post. It's one of those tracks that I'm determined to learn the difficult lyrics for like "We Didn't Start The Fire" - Billy Joel or "Life Is A Rock (But The Radio Rolled Me)" - Reunion but until then, I'll just have to enjoy this wedge of 80's goodness.
10. "Green Onions" - Booker T. & The M.Gs
You know a song is special when it's instantly recognisable and enjoyable from the first couple of notes. Since it's an instrumental track, it's quite short and doesn't have a lot going for it other than the main blues riff. However, it's a solid tune and great to hear every now and then...mind you, it's quite close to Rock what with it being a Blues track. I'm sure it'll be fine, since I've mentioned loads of other non-Rock songs throughout this blog that I also like.
Next week, I'll be back to Rock/Metal related posts but if you have any more requests, feel free to let me know either on Twitter or the comments section of this post. Also, if there are any Non-Rock/Metal songs you like that you would recommend to to me, let me know!
That being said, I've been asked to write up a post detailing some non-Rock/Metal songs that I enjoy listening to so here are ten of my favourites in no particular order. Also, I'm not counting songs that have strong Rock elements so that rules out quite a few songs I enjoy such as "Super Freak" - Rick James and bands like The Beatles, assuming you call them Pop instead of Rock.
1. "Crazy" - Seal
I was torn between this one and "Na Na Hey Hey Kiss Him Goodbye" - Steam. In the end, I chose this track because I felt it had less of a Rock vibe than the other, although I probably like them both the same. I don't really know many Seal songs outside of this one and "Kiss From A Rose" but I think, gun to head, I prefer this one. It may go on a bit too long but it's still got a good mix and a strong vocal-based chorus, just as good Pop songs should have.
2. "The Safety Dance" - Men Without Hats
Fair warning, this isn't the only "cheesy" 80's Pop One-Hit Wonder on this list and you're lucky I was able to condense it down to just a couple. If I had to post 20 tracks, you could've expected to see "Walk The Dinosaur" - Was (Not Was) and "Opposites Attract" - Paula Abdul, to name a few. Anyway, I fucking love this song. Sorry but I do. It's incredibly catchy, the lyrics aren't as inane as other Pop anthems and it's short enough to not get annoying.
3. "You Can't Hurry Love" - The Supremes
Cards on the table, the game Donkey Konga is probably responsible for my love of this song. It's about as inoffensive as you can get and it has a good little rhythm to it. I could probably forgive any song that you can do the Carlton Dance to without too much effort unless it's absolutely fucking terrible and fortunately, this song isn't absolutely fucking terrible. It's the aural equivalent of a hot water bottle on a cold evening, that's roughly how nice it is.
4. "Weapon Of Choice" - Fatboy Slim
To borrow the parlance of knobheads, back in the day I was really into Fatboy Slim. There were several tracks to choose from for this list such as "That Old Pair Of Jeans" and "Praise You" but I ended up going with "Weapon Of Choice" simply because I could happily sit and listen to it on repeat for hours. Even though it's the same tune over and over again (which is pretty much Pop music summarised), it's catchy enough to sound awesome.
5. "On Our Own" - Bobby Brown
Bit of 80's Hip-Hop/Pop for you! It's not exactly an amazing song and it's definitely pretty forgettable but every time I heard it, I can't help but hum along to the backing vocal melody. That's about all there is to say on this song other than it's not the only track I've picked that can be heard in Ghostbusters II...
6. "(Your Love Keeps Lifting Me) Higher And Higher - Jackie Wilson
Even if I first heard this song in a godawful film, my perception of the song wasn't forever tarnished by Eddie Murphy in fat drag. As soon as that bass comes in, the song is just fantastic right the way through to the end. The mix of each instrument is layered perfectly and the whole song just oozes happiness, which isn't something I usually look for in a song. However, it's abundantly present here and I'm glad for it, as should you be.
7. "Part-Time Lover" - Stevie Wonder
Another song that works perfectly with the Carlton Dance! There are several decent Stevie Wonder tracks but this is easily my favourite. I remember hearing it years and years ago but not knowing who it was by or what it was called. For years, I thought it was just an awesome cover of "Maneater" - Hall & Oates but after being used in an episode of Never Mind The Buzzcocks, I bought it straight away! It's hard to pinpoint exactly why I love this track but I reckon the general melody is probably the main reason.
8. "Cobrastyle" - Teddybears
You'll probably know this song if you listen to it, at least you might if you watch American TV shows. I wasn't sure if I should include this, as it samples the piano riff from "Good Thing" - Fine Young Cannibals (a song I was also tempted to include on this list if it had less Rock elements) but I think it belongs here, especially when you compare it to the average music I review on this blog. At the risk of sounding like a teenage moron, it's got a great beat and chorus, even if I have no idea what the guy's rapping about.
9. "Rock Me Amadeus" - Falco
Most of you will probably choose "99 Luftballoons" - Nena as the best German Synth-Pop track of the 80's. Whilst I do love that track as well, it's got to be "Rock Me Amadeus" that earns the spot on this post. It's one of those tracks that I'm determined to learn the difficult lyrics for like "We Didn't Start The Fire" - Billy Joel or "Life Is A Rock (But The Radio Rolled Me)" - Reunion but until then, I'll just have to enjoy this wedge of 80's goodness.
10. "Green Onions" - Booker T. & The M.Gs
You know a song is special when it's instantly recognisable and enjoyable from the first couple of notes. Since it's an instrumental track, it's quite short and doesn't have a lot going for it other than the main blues riff. However, it's a solid tune and great to hear every now and then...mind you, it's quite close to Rock what with it being a Blues track. I'm sure it'll be fine, since I've mentioned loads of other non-Rock songs throughout this blog that I also like.
Next week, I'll be back to Rock/Metal related posts but if you have any more requests, feel free to let me know either on Twitter or the comments section of this post. Also, if there are any Non-Rock/Metal songs you like that you would recommend to to me, let me know!
Thursday, 5 November 2015
Motley Crue - The Final Tour
For those of you who haven't had their ear to the ground of the Rock/Metal scene, Motley Crue announced that they're calling it quits after going on one last hurrah and performing a Greatest Hits setlist all over the world. Unlike other bands such as Judas Priest who lie about going on a farewell tour just to fill more seats, Motley Crue have made a big deal about how this is genuinely the end and two days ago, I was lucky enough to catch them in Manchester before they fade away.
The warm-up band (The One Hundred) were fucking shite. They sounded like a generic screaming Metal band populated by thirteen year olds and their older brothers. So yeah, I don't recommend paying for anything by these guys based on what I heard.
Luckily, they were just a warm-up for a much better warm-up. Eventually, Alice Cooper and his band hit the stage and played a selection of hits from "Poison" to "No More Mr. Nice Guy". This isn't the first time I've seen Alice Cooper live but it was definitely the better performance. The first time, Alice Cooper was on his own at a charity gig with musicians from other bands such as Ian Paice and Brian May. However, since this was an Alice Cooper show, he had more time to play his own songs with all the theatrics involved.
I'm not really a huge Alice Cooper fan but his vocals are still as strong as they were when he recorded them all those decades ago, plus he really knows how to put on a freaky show. The only problem was that some of the stage theatrics (such as dressing as a massive Frankenstein Monster and running about shouting during the end of "Feed My Frankenstein") can be greatly distracting from the music so if you just want to hear Alice Cooper songs, you might find it a little off-putting. Then again, his shows have always been about shock and awe so if you go in expecting that, you won't be disappointed.
So yes, I enjoyed Alice Cooper's segment of the show. Now onto the main event!
Motley Crue came out with a roar and opened with "Girls, Girls, Girls", joined by pyrotechnics and two scantily clad ladies dancing about and occasionally providing backing vocals. They played a great selection of tunes from various albums with a few mediocre ones every now and then, such as a cover of "Anarchy In The U.K.". Not that it makes any difference as they're no longer touring after this year but the band are all still on top form. There are a few blemishes here and there such as Vince Neil's inability to sing longer vocal phrases without pausing throughout (very noticeable during "Live Wire" and "Dr. Feelgood") but everyone in the band and audience still had a great time.
There were also a couple of odd moments during the show, like Nikki Sixx's "follow your dreams" monologue about stealing his dad's penknife that he seemingly recited without taking a single breath. Along with this, there were the obligatory instrumental solos that bands seem to be doing more and more now. Mick Mars decided to impersonate Eddie Van Halen with a loud but obnoxious guitar solo, clearly fancying himself as some sort of virtuoso. Ordinarily, I wouldn't mind a good guitar solo that gets progressively more frenzied before ending on an all-out showstopper but this one sounded more like an air conditioning unit that's beyond the point of being totally fucked.
Unlike guitarists such as Slash or Steve Vai who have mastered the art of their instrument, Mick Mars seemed to rely heavily on smacking his fretboard and strings like a cat pawing at a laser pointer or a blind man trying to put out a fire on his crotch. It would've sounded a lot better if there was less feedback and you could actually hear each note he was playing, unless of course that was the intention after all. Maybe he's played much better solos at other gigs but I wasn't impressed after this one. Hey, speaking of using noise to cover things up, let's move onto the other spectacle of the show; the drum roller coaster.
If you haven't seen it before, I recommend checking it out on Youtube but basically, Tommy Lee starts a drum solo and as he does so, his kit is lifted into the air and spun around as it follows a track to another part of the stage, still with him playing all the way through. It's a pretty awesome sight and I was looking forward to seeing it in person. It started off with "O Fortuna" (or the scary operatic music used in teasers for The X Factor when they want to create the illusion of drama) and eventually broke into Tommy starting the beat as his kit slowly levitated.
A good start, yes, but things gradually fell apart (not literally). Instead of creating a drum solo himself, Tommy was drumming along to a remix of several tunes as he spun across the arena. This would've been fine if the remix contained Motley Crue songs, since that's what people paid to hear. Hell, I would've been satisfied if he stuck to Rock tracks, as there were snippets of Led Zeppelin and Black Sabbath in the mix. Regretfully, the remix was mostly shitty Pop music and Dubstep, loud enough to cover up any actual physical drumming from the actual physical fucking drummer.
It was a hell of a stunt that, in my eyes, flopped miserably as soon as I recognised "Uptown Funk". Bad remixes, unimpressive solos and unnecessary covers aside though, it was a great show that ended on a single encore performance of "Home Sweet Home", a fitting swan song for these iconic Hair Metal heroes...even if I do suspect Tommy Lee wasn't really playing the piano. But yes, I had a fun night and even if I am being quite harsh on the band, I have massive respect for them for not completely phoning it in.
Many other Hair Metal or 80's Hard Rock acts probably would've let arrogance get in the way and put on a shitty show. It would've been incredibly easy for any of the band members to sack the whole thing off and say "Hey, it doesn't matter if this goes to shit. I've still got millions upon millions to my name!". Maybe one of them did in their own way or will do on their last ever gig but as far as I'm concerned, they put on a hell of a show. It's things like this that make Motley Crue different to Guns N' Roses, for example.
Bottom line is I enjoyed both shows, even if they had a few faults. The band came together as a cohesive unit and rocked an entire arena. I can't recommend seeing these guys live as that opportunity has expired (unless you've got a time machine on you, in which case I do recommend popping back and seeing them play!) but if you haven't done already, do give their earlier albums a listen; particularly Theatre Of Pain.
Motley Crue are one of those bands who are capable of writing insanely catchy songs AND top quality filler tracks too. They're not just hair spray and eyeliner, they're decent musicians if you give them a chance. The next gig I'm going to will be in December as I'm seeing The Darkness in Leeds. I've already reviewed their latest album on the blog but I'll give the show a write-up as well, assuming I'm not inundated with ideas for the rest of the year.
The warm-up band (The One Hundred) were fucking shite. They sounded like a generic screaming Metal band populated by thirteen year olds and their older brothers. So yeah, I don't recommend paying for anything by these guys based on what I heard.
Luckily, they were just a warm-up for a much better warm-up. Eventually, Alice Cooper and his band hit the stage and played a selection of hits from "Poison" to "No More Mr. Nice Guy". This isn't the first time I've seen Alice Cooper live but it was definitely the better performance. The first time, Alice Cooper was on his own at a charity gig with musicians from other bands such as Ian Paice and Brian May. However, since this was an Alice Cooper show, he had more time to play his own songs with all the theatrics involved.
I'm not really a huge Alice Cooper fan but his vocals are still as strong as they were when he recorded them all those decades ago, plus he really knows how to put on a freaky show. The only problem was that some of the stage theatrics (such as dressing as a massive Frankenstein Monster and running about shouting during the end of "Feed My Frankenstein") can be greatly distracting from the music so if you just want to hear Alice Cooper songs, you might find it a little off-putting. Then again, his shows have always been about shock and awe so if you go in expecting that, you won't be disappointed.
So yes, I enjoyed Alice Cooper's segment of the show. Now onto the main event!
Motley Crue came out with a roar and opened with "Girls, Girls, Girls", joined by pyrotechnics and two scantily clad ladies dancing about and occasionally providing backing vocals. They played a great selection of tunes from various albums with a few mediocre ones every now and then, such as a cover of "Anarchy In The U.K.". Not that it makes any difference as they're no longer touring after this year but the band are all still on top form. There are a few blemishes here and there such as Vince Neil's inability to sing longer vocal phrases without pausing throughout (very noticeable during "Live Wire" and "Dr. Feelgood") but everyone in the band and audience still had a great time.
There were also a couple of odd moments during the show, like Nikki Sixx's "follow your dreams" monologue about stealing his dad's penknife that he seemingly recited without taking a single breath. Along with this, there were the obligatory instrumental solos that bands seem to be doing more and more now. Mick Mars decided to impersonate Eddie Van Halen with a loud but obnoxious guitar solo, clearly fancying himself as some sort of virtuoso. Ordinarily, I wouldn't mind a good guitar solo that gets progressively more frenzied before ending on an all-out showstopper but this one sounded more like an air conditioning unit that's beyond the point of being totally fucked.
Unlike guitarists such as Slash or Steve Vai who have mastered the art of their instrument, Mick Mars seemed to rely heavily on smacking his fretboard and strings like a cat pawing at a laser pointer or a blind man trying to put out a fire on his crotch. It would've sounded a lot better if there was less feedback and you could actually hear each note he was playing, unless of course that was the intention after all. Maybe he's played much better solos at other gigs but I wasn't impressed after this one. Hey, speaking of using noise to cover things up, let's move onto the other spectacle of the show; the drum roller coaster.
If you haven't seen it before, I recommend checking it out on Youtube but basically, Tommy Lee starts a drum solo and as he does so, his kit is lifted into the air and spun around as it follows a track to another part of the stage, still with him playing all the way through. It's a pretty awesome sight and I was looking forward to seeing it in person. It started off with "O Fortuna" (or the scary operatic music used in teasers for The X Factor when they want to create the illusion of drama) and eventually broke into Tommy starting the beat as his kit slowly levitated.
A good start, yes, but things gradually fell apart (not literally). Instead of creating a drum solo himself, Tommy was drumming along to a remix of several tunes as he spun across the arena. This would've been fine if the remix contained Motley Crue songs, since that's what people paid to hear. Hell, I would've been satisfied if he stuck to Rock tracks, as there were snippets of Led Zeppelin and Black Sabbath in the mix. Regretfully, the remix was mostly shitty Pop music and Dubstep, loud enough to cover up any actual physical drumming from the actual physical fucking drummer.
It was a hell of a stunt that, in my eyes, flopped miserably as soon as I recognised "Uptown Funk". Bad remixes, unimpressive solos and unnecessary covers aside though, it was a great show that ended on a single encore performance of "Home Sweet Home", a fitting swan song for these iconic Hair Metal heroes...even if I do suspect Tommy Lee wasn't really playing the piano. But yes, I had a fun night and even if I am being quite harsh on the band, I have massive respect for them for not completely phoning it in.
Many other Hair Metal or 80's Hard Rock acts probably would've let arrogance get in the way and put on a shitty show. It would've been incredibly easy for any of the band members to sack the whole thing off and say "Hey, it doesn't matter if this goes to shit. I've still got millions upon millions to my name!". Maybe one of them did in their own way or will do on their last ever gig but as far as I'm concerned, they put on a hell of a show. It's things like this that make Motley Crue different to Guns N' Roses, for example.
Bottom line is I enjoyed both shows, even if they had a few faults. The band came together as a cohesive unit and rocked an entire arena. I can't recommend seeing these guys live as that opportunity has expired (unless you've got a time machine on you, in which case I do recommend popping back and seeing them play!) but if you haven't done already, do give their earlier albums a listen; particularly Theatre Of Pain.
Motley Crue are one of those bands who are capable of writing insanely catchy songs AND top quality filler tracks too. They're not just hair spray and eyeliner, they're decent musicians if you give them a chance. The next gig I'm going to will be in December as I'm seeing The Darkness in Leeds. I've already reviewed their latest album on the blog but I'll give the show a write-up as well, assuming I'm not inundated with ideas for the rest of the year.
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